<p class="MsoNormal" style="text-align:justify"><em><b style><span style="font-size:10.0pt;font-family:"Arial","sans-serif";font-style:normal">° </span></b></em><b><span style="font-size:10.0pt;font-family:"Arial","sans-serif"" lang="DE-AT">Forays.
Systems of Self-Interest – Mechanisms of Looting</span></b><span style="font-size:10.0pt;font-family:"Arial","sans-serif";color:black" lang="DE-AT"> </span><span style="font-size:10.0pt;font-family:"Arial","sans-serif";color:black">| </span><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">9 March - 7 April 2012</span></p>
<p class="MsoNormal" style="text-align:justify;text-autospace:ideograph-numeric"><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="margin-left:27.0pt;text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif";color:black">Opening: </span><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">8 March<span style="color:black">, 19:00 pm</span></span></p>
<p class="MsoNormal" style="margin-left:27.0pt;text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif";color:black"> </span></p>
<p class="MsoNormal" style="margin-left:27.0pt;text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif";color:black">Project
curator: </span><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Sabine Winkler</span></p>
<p class="MsoNormal" style="margin-left:27.0pt;text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif";color:black"> </span></p>
<p class="MsoNormal" style="margin-left:28.5pt"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Participating artists:</span></p>
<p class="MsoNormal" style="margin-left:28.5pt"><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="margin-left:28.5pt"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Lara Baladi</span></p>
<p class="MsoNormal"><span style="font-size:10.0pt;font-family:"Arial","sans-serif""><span style> </span>Jan Peter Hammer</span></p>
<p class="MsoNormal" style="margin-left:28.5pt"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Maryam Jafri</span></p>
<p class="MsoNormal" style="margin-left:28.5pt"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Lina Khatib</span></p>
<p class="MsoNormal" style="margin-left:28.5pt"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Candida TV/D Media</span></p>
<p class="MsoNormal" style="margin-left:28.5pt"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Joanne Richardson and David Rych</span></p>
<p class="MsoNormal" style="text-align:justify;line-height:150%"><b><span style="font-size:10.0pt;line-height:150%;font-family:"Arial","sans-serif""> </span></b></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">The project deals with different systems of exploitation and its
consequences. Within the dramatic occurrences of the last years, there was one
obvious motif, forming the basis of the financial crisis as well as the basis of
the riots in the countries of the Arabic-Spring: Exploitation and systems of
self-interest are mechanisms of looting, which occurs as neoliberalism
disguised as democracy or naked as dictatorial system. The possibilities of
exploitation are unlimited. Loss of reality characterizes the stakeholders of
both systems. The loot-mechanisms of the financial systems are inscrutable in
their abstract complexity and virtuality, the exploitation systems of
totalitarian governed countries define the everyday life struggle of survival
of the population. Political, economical and judicial conditions of forays are
installed to systematize methods of self-interest and to strengthen elitist
power systems.</span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">What is now then the difference between these two exploitation systems?
That the people in Europe have not yet fought the ruthless methods of the
finance markets? The saving of the banking-institutions and the big concerns
will destroy more and more the social systems, as everybody (except the rich)
will have to pay for the gambling debts of the financial-markets-speculators in
the following years. Exploitation is a means to eliminate the social state:
Public money that is supposed to be spent for the communality is shifted to
banking institutions and big concerns. Thievery of the commons, tax privileges
of the rich and methods of self-interest, which are sold as competence of
competition do not only involve public fields, but also affect increasingly
private zones. The looters at the financial-markets still feel secure and
protected within the neoliberal system and its same old representatives.
Corruption has a long tradition and is taken for granted as a method of
enrichment, inasmuch it is increasingly perceived as a legalized tactic for
succeeding economically. </span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">In the Arabic countries of revolution the autocrats enriched themselves
by public and by governmental institutionalized methods of looting,
establishing systems of corruption, regarding all social classes. Structures
for systemic and personal enrichment methods were installed by the colonial
policy, exploitation was and is practised by elitist gangs. Authoritarian and
hierarchic systems, which are operating self-interestedly in clans, feudal or
Mafia-like gangs, disregarding necessities of life, rights, social conditions,
etc., are producing every day disasters and lack of perspectives, especially
for the young people. The governmental father figures have served their time;
patriarchal systems of control are forced back by the desire of
self-determination and the right to say. At the moment, some of the dictatorial
looters are losing their power positions and new possibilities for political
orders can be developed. </span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">The worst is coming to the worst, when territorial claims of both
exploitation systems coincide, when military interventions are whitewashed on
the pretext of humanitarian aid, or when the ventures of the financial markets
force up the prices of food, causing mass starvation in political and
economical instable countries.</span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">What are the systemic overlapping and differences in this two systems of
loot-generation? In which way mechanisms of exploitation are legitimized and
masked, which pseudo-arguments are appearing again and again in this context
and which counter-mechanisms could stop this generation of loot?</span></p>
<p class="MsoNormal" style="text-align:justify;text-autospace:ideograph-numeric"><b style><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></b></p>
<p class="MsoNormal" style="text-align:justify;text-autospace:ideograph-numeric"><b style><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></b></p>
<p class="MsoNormal" style="text-align:justify;text-autospace:ideograph-numeric"><b style><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Artist info:</span></b></p>
<p class="MsoNormal" style="text-align:justify"><b><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></b></p>
<p class="MsoNormal" style="text-align:justify"><b><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Lara Baladi</span></b></p>
<p class="MsoNormal" style="text-align:justify"><i style><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Hope (Amal)</span></i><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">, 2008/09</span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Slide- and sound installation, booklets</span></p>
<p class="MsoNormal"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"" lang="DE-AT"> </span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">“About 40% of the buildings in Cairo consists of the so call
'ashwa'iyat' ("random things") commonly translated as informal
housebuilding in this context. These illegal constructed slums are built up of
bricks and concrete, often without windows and municipal infrastructure.” (Lara
Baldi) Informal housebuilding can be regarded as a result of political
loot-generation and corruption. Formal housebuilding is a traditional object of
corrupt linking-ups between construction companies and political elites.
Thousands of buildings in Cairo are empty, as a bigger part of the population
cannot afford these expensive apartments. Informal housebuilding is one of the
consequences of informal working conditions or unemployment, which is in turn a
product of enrichment procedures. The <i>aswa'iyat</i> quarters are
improvisational living space but nevertheless a social environment, which can
be organised in different ways. Asef Bayat and Eric Denis allude to the social
and economical aspect of the <i>aswa'iyat</i>, which supply its inhabitants
with living space, food, schools, hospitals and hope.<a style href="#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span style><span class="MsoFootnoteReference"><span style="font-size:10.0pt;font-family:"Arial","sans-serif""></span></span></span></span></a></span><span style="font-size:10.0pt;font-family:"Arial","sans-serif"" lang="DE-AT"></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"" lang="DE-AT"> </span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Lara Baladi (born in Beirut, Lebanon) l</span><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">ives and works in Cairo. </span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="text-align:justify"><b><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Jan Peter Hammer</span></b></p>
<p class="MsoNormal" style="text-align:justify"><i style><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">The Anarchist Banker</span></i><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">, 2010</span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">HD video installation, 30 min</span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="text-align:justify;line-height:10.0pt"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Jan Peter Hammer refers to a short novel of
the same name by Fernando Pessoa. Jan Peter Hammer stages Pessoa's dialogue
between a banker and a secretary as an interview between the banker Arthur
Ashenking and the TV moderator Dave Hall. The name of the banker is a loosely
reference to Artur Alves dos Reis, which inspired Pessoa for his short novel.
Artur Alves dos Reis was a big cheater, falsifying any kind of documents and
money on a grand scale, and was therefore responsible for the devaluation of
the Portuguese escudo, resulting in an economic and political crisis of the
first Portuguese republic, followed by twenty years of fascistic dictatorship.
In his staging, Jan Peter Hammer adapts the original dialogue for showing
neoliberal practices of the financial markets resulting in the current crisis.
Arthur Ashenking leads through the genealogy of neoliberalism, from the ideal
of self-determination of the individual up to the duty of self-optimisation in
economic and emotional regards. Jan Peter Hammer shows these repetitive lines
of argumentation, defending rational egoism and audacious individualism. The
banker justifies pure materialism and self-interest, his own aiming for
personal profit with the notion freedom. A traditional way of
pseudo-argumentation, not only for legitimating and legalising exploitation
mechanisms of looting, but also promoting it as a positive way of life.</span></p>
<p class="MsoNormal" style="text-align:justify"><b style><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></b></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Jan Peter Hammer<b style> </b>was born in Kirchheim unter Teck in
Germany and lives and works in Berlin.</span><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="text-align:justify"><span lang="DE-AT"> </span></p>
<p class="MsoNormal" style="text-align:justify"><b style><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Maryam Jafri </span></b></p>
<p class="MsoNormal" style="text-align:justify"><i style><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Siege of Khartoum, 1884</span></i><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">, 2006</span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">A1 photo-collage posters </span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="text-align:justify;line-height:10.0pt"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Maryam Jafri combines photos of the fall of
Saddam Hussein, people demolishing his statue, his arrest, images that have
become icons of the Iraq War, with articles of <i>The</i> <i>New York Times,
The Times</i> and <i>The Daily Telegraph</i>. Some of the articles are from the
end of the 19th century, the height of the British Empire extended to articles
of the year 2006. Journalistic texts from Winston Churchill about the Mahdists
riots in Sudan (1898), about the British efforts to suppress the Mau Mau riots
in Kenya (1950ies), anonymous reports from American journalists about the
Vietnam War (1960ies), about the fights at the Philippines (1920ies) or in
Panama (1990ies). <i>Siege of Khartoum,1884</i> stands for the resistance of
the Mahdists against the British-Egyptian government in Sudan, and can be taken
as a metaphor of resistance against oppression. Maryam Jafri explores
references between current and historical looting-wars, revealing traditional
and repetitive methods of looting as well as techniques of reporting about it.</span></p>
<p class="MsoNormal" style="text-align:justify;line-height:10.0pt"><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;line-height:normal"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Maryam Jafri<b> </b></span><span style="font-size:10pt;font-family:"Arial","sans-serif"">was
born in Karachi and lives and works in Copenhagen and New York. <br></span></p><p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:10.0pt;font-family:"Arial","sans-serif""><br>
</span></p><p class="MsoNoSpacing" style="margin:0cm;margin-bottom:.0001pt;text-align:justify"><b><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Lina Khatib</span></b><b style><i style><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></i></b></p>
<p class="MsoNoSpacing" style="margin:0cm;margin-bottom:.0001pt;text-align:justify"><i style><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Fallin' Dictators</span></i><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">, 2011</span></p>
<p class="MsoNoSpacing" style="margin:0cm;margin-bottom:.0001pt;text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Video installation</span></p>
<p class="MsoNormal" style="text-align:justify"><span lang="DE-AT"> </span></p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Lina Khatib shows in her video
a series of photographs of advertising posters of the fallen long-run dictators
of the North-African countries. The title of the work refers to the double
significance of the word <i>fall</i>, overthrow and autumn. Zine El Abidine Ben
Ali, Muhammad Hosni Sayyid Mubarak, Muammar Gaddafi and Bashar al-Assad are
smiling faithfully from the posters, accompanied by advertising slogans like
"wherever you go, you will bring happiness and beauty" (Gaddafi
poster) or "for democracy and stability" (Mubarak poster). The
self-staging of the dictators as trustable heads of government reveals the
cynicism of their omnipotence-fantasies and their lack of reality. The masters
of the ruthless loot-generation are staging themselves as patriarchal
father-figures, men of the world, problem resolvers and so on, hiding systems
of exploitation, oppression and violence behind gestures </span><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">and poses</span><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">.</span></p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:justify"><b><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></b></p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Lina Khatib<b> </b></span><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">was born in Lebanon and is currently
California based.</span></p>
<p class="MsoNormal" style="text-align:justify"><span lang="DE-AT"> </span></p><span style="font-size:10.0pt;font-family:"Arial","sans-serif""></span><span style="font-size:12.0pt;font-family:"Times New Roman","serif""></span>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><b><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Candida TV/D Media</span></b><span style="font-size:12.0pt;font-family:"Times New Roman","serif""></span></p>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><i style><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Made
in Italy</span></i><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">, 2006</span><span style="font-size:12.0pt;font-family:"Times New Roman","serif""></span></p>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Video, 25 min</span><span style="font-size:12.0pt;font-family:"Times New Roman","serif""></span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10pt;font-family:"Arial","sans-serif"" lang="DE-AT"><br></span></p><p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"" lang="DE-AT">Candida TV/D Media oppose in their video 16.000 Italian companies,
that have displaced their production facility to the low-wage-country Romania,
to two million Romanian migrants living in Italy. The film shows different,
often controversial perceptions and positions: Italian businessmen, trade
unionists, local workers and migrants are reporting about their experiences and
life-conditions. Concerns and trusts are displacing their production facilities
for saving costs by not paying taxes and by paying low wages to the employees.
Tax exemption of the rich is a result of neoliberal economic policy and one of
the main reasons for the financial crises resulting in austerity packages. Loot
is generated twice, by the exploitation of cheap, often migrant workers and by
fiscal privileges. Candida TV/D Media explore these interdependencies of
delocalisation.</span></p>
<p class="MsoNormal" style="text-align:justify"><b><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></b></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Candida TV</span><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> (Italy), <span style>D Media</span>
(Romania): Video activist collectives (Francesca Bria, Tora Krogh, Cristina
Petrucci, Joanne Richardson)</span></p>
<p class="MsoNormal"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"" lang="DE-AT"> </span></p>
<p class="MsoNormal" style="text-align:justify"><b style><span style="font-size:10.0pt;font-family:"Arial","sans-serif"" lang="DE-AT">Joanne Richardson and David Rych</span></b><b><i style><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></i></b></p>
<p class="MsoNormal" style="text-align:justify"><i style><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Red Tours</span></i><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">, 2010</span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Video, 48 min</span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="text-align:justify;line-height:10.0pt"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"" lang="DE-AT">Joanne Richardson and David Rych deal with transformation processes of
communism into capitalism and the often unreflected systemic change of
ideologies. <i>Red Tours</i> was shot in Budapest, Prague, Vilnius and Berlin,
in theme parks, ghost trains, and experience-museums, which are now defining
the history, interpretation and perception of the Soviet Union. Recent history
has become an object of collective repression, reduced to a museal and
touristic representation in zones of adventure. Communist history was
pathologized for creating free spaces for neoliberal systems, not questioning
its practices. This ideological matrix, which reduces all to
economic-processes, the market and consumption, despoils ideal systems, by
destroying dreams, history, memory, imagination etc. All ideological systems
are eager for these imaginary systems, intervening and controlling private
zones. Occupation occurs after conquest.</span></p>
<p class="MsoNormal" style="text-align:justify;line-height:10.0pt"><b><span style="font-size:10.0pt;font-family:"Arial","sans-serif"" lang="DE-AT"> </span></b></p>
<p class="MsoNormal" style="text-align:justify;line-height:10.0pt"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"" lang="DE-AT">Joanne Richardson<b> </b></span><span style="font-size:10.0pt;font-family:"Arial","sans-serif"" lang="DE-AT">was born in Bucharest and lives and works in Berlin. </span></p>
<p class="MsoNormal" style="text-align:justify;line-height:10.0pt"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"" lang="DE-AT">David Rych</span><span style="font-size:10.0pt;font-family:"Arial","sans-serif"" lang="DE-AT"> was born in Innsbruck and lives and works in Berlin.</span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:10pt;font-family:"Arial","sans-serif""> </span></p><p class="MsoNormal" style="margin:0cm 0cm 0.0001pt 1cm;text-align:justify;line-height:normal">
<span style="font-size:10.0pt;font-family:"Arial","sans-serif""></span><b style><span style="font-size:10.0pt;font-family:"Arial","sans-serif";color:black"><span style> </span></span></b><b style><span style="font-size:10pt;font-family:"Arial","sans-serif";color:black"><br>
</span></b></p><p class="MsoNormal" style="margin-top:0cm;margin-right:0cm;margin-bottom:0cm;margin-left:1.0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal;text-autospace:ideograph-numeric"><b style><span style="font-size:10.0pt;font-family:"Arial","sans-serif";color:black">supported by</span></b><span style="font-size:10.0pt;font-family:"Arial","sans-serif";color:black">:</span><span style="font-size:12.0pt;font-family:"Arial","sans-serif""></span></p>
<p class="MsoNormal" style="margin-top:0cm;margin-right:0cm;margin-bottom:0cm;margin-left:27.0pt;margin-bottom:.0001pt;text-align:justify;line-height:normal;text-autospace:ideograph-numeric"><b style><span style="font-size:10.0pt;font-family:"Arial","sans-serif";color:black"> </span></b><span style="font-size:12.0pt;font-family:"Arial","sans-serif""></span></p>
<p class="MsoNormal" style="margin-top:0cm;margin-right:0cm;margin-bottom:0cm;margin-left:27.0pt;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">BM:UKK </span><span style="font-size:12.0pt;font-family:"Arial","sans-serif""></span></p>
<p class="MsoNormal" style="margin-top:0cm;margin-right:0cm;margin-bottom:0cm;margin-left:27.0pt;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">MA 7 - Interkulturelle und
Internationale Aktivitäten</span><span style="font-size:12.0pt;font-family:"Arial","sans-serif""></span></p>
<p class="MsoNormal" style="margin-top:0cm;margin-right:0cm;margin-bottom:0cm;margin-left:27.0pt;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Arbeiterkammer
Wien</span><span style="font-size:12.0pt;font-family:"Arial","sans-serif""></span></p>
<p class="MsoNormal" style="text-align:justify;text-autospace:ideograph-numeric"></p><p class="MsoNormal" style="text-align:justify"><b style><span style="font-size:10.0pt;font-family:"Arial","sans-serif""> </span></b></p>
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<b style><span style="font-size:9.5pt;font-family:"Arial","sans-serif"">About us:</span></b><span style="font-size:12.0pt;font-family:"Arial","sans-serif""></span></p>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:9.5pt;font-family:"Arial","sans-serif"">Open Friday,
Saturday 13.00 - 18.30 and open for the rest of the week days by appointment
only. </span><span style="font-size:12.0pt;font-family:"Arial","sans-serif""></span><span style="font-size:9.5pt;font-family:"Arial","sans-serif"">Admission
free </span><span style="font-size:12.0pt;font-family:"Arial","sans-serif""></span></p>
<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;line-height:normal"><b style><span style="font-size:9.5pt;font-family:"Arial","sans-serif""><br></span></b></p><p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;line-height:normal">
<b style><span style="font-size:9.5pt;font-family:"Arial","sans-serif"">Open Systems</span></b></p><p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;line-height:normal">
</p><p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:9.5pt;font-family:"Arial","sans-serif"">Zentrum
für Kunstprojekte</span><span style="font-size:12.0pt;font-family:"Times New Roman","serif""></span></p>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:9.5pt;font-family:"Arial","sans-serif"">Lassingleithnerplatz
2</span><span style="font-size:12.0pt;font-family:"Times New Roman","serif""></span></p>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:9.5pt;font-family:"Arial","sans-serif"">A- 1020
Vienna</span><span style="font-size:12.0pt;font-family:"Times New Roman","serif""></span></p>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:9.5pt;font-family:"Arial","sans-serif"">Austria</span><span style="font-size:12.0pt;font-family:"Times New Roman","serif""></span></p>
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<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:9.5pt;font-family:"Arial","sans-serif"">(+43) 699
115 286 32</span><span style="font-size:12.0pt;font-family:"Times New Roman","serif""></span></p>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><br><b style><span style="font-size:9.5pt;font-family:"Arial","sans-serif""> </span></b><span style="font-size:12.0pt;font-family:"Arial","sans-serif""></span></p>
<span style="font-size:9.5pt;font-family:"Arial","sans-serif""></span><span lang="DE-AT"></span><span style="font-size:9.5pt;font-family:"Arial","sans-serif""></span>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:9.5pt;font-family:"Arial","sans-serif"">for more info: </span><span style="font-size:9.5pt;font-family:"Arial","sans-serif";color:black" lang="DE-AT"><span style="color:black"><a href="mailto:office@openspace-zkp.org">office@openspace-zkp.org</a></span></span><span style="font-size:9.5pt;font-family:"Arial","sans-serif";color:black" lang="DE-AT"> </span><span style="font-size:9.5pt;font-family:"Arial","sans-serif""></span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:9.5pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:9.5pt;font-family:"Arial","sans-serif";color:black"><a href="http://www.openspace-zkp.org">http://www.openspace-zkp.org</a></span></p>
<p class="MsoNormal" style="text-align:justify"><span style="font-size:9.5pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="text-align:justify"><b style><span style="font-size:9.5pt;font-family:"Arial","sans-serif"">Open Systems</span></b><span style="font-size:9.5pt;font-family:"Arial","sans-serif""> - Zentrum für
Kunstprojekte aims to create the most vital facilities for art concerned with
contributing a model strategy for cross-border and interregional projects on
the basis of improving new approach.</span></p>